by Meredith Schneider | Oct 21, 2019 | albums, review
Alright, we are way overdue for stepping back in time with a killer soundscape to aid us. Packed to the brim with disco-era synth flare, Delores Galore‘s new album New Growth sounds a little more old school than one might assume when dissecting the album title, though it has a fresh spin with relatable lyrics and a fun, carefree feeling. (Truly, this is exactly what we needed to help us along through these slightly-more-serious months as we all meet year-end goals and continue to kick ass to end this decade right.)
“One Touch” gets us in the mood with husky vocals, glittering reverb and a vocal spoken breakdown that is equal parts honest and soulful. “Corpse Inside” has more of a psychedelic tone to it, a track that brings the tempo down, and the feelings out. “Still We Stay” follows it, much more 80s in nature, and just as magical as its predecessors. This one has an instrumental tempo that is slightly off-kilter when lined up with the vocals. This slight difference creates an otherworldly atmosphere for the duration of this dance track.
“Don’t Stop Me Now” has a very techy opening, with a soundscape that makes us feel as though we have been dropped inside an original Nintendo console to fend for our lives. The frantic feeling the instrumentals create is only slightly offset by the smoothness of the vocals, creating a balance similar to the song before it. Delores Galore rounds out the release well, with the slower tempo’d “Circles”. It feels epic, and should we find it placed in a Stranger Things-esque period piece, we wouldn’t think it out of place.
Get a sneak peek of New Growth below with “One Touch”, and keep your eyes peeled for more!
Keep up with Delores Galore here.
by Meredith Schneider | Oct 18, 2019 | albums, review
Rock collective Teleportal – comprised of Johnny Rossa (Vocals), Beth Liebling (Vocals and Bass), James Bourland (Guitar), and Ric Peterson (Drums) – just released a theatrical, 11-track album titled Devour that does – if not specifically that – really provide an attitude all its own. While the instrumentals of “Space Bone” introduce the collection with a dark soundscape, it lightens with the layering of new instrumentals and lighter vocals. Eventually a wailing note makes this song into what it is, and we’re transported back in time while also being pushed significantly into the future. “The Plague” has an undeniably frantic feel to its sound, energizing in its disposition, while “Disaster” evens out the tempo a bit for a more traditional rock sound. “Mansions” slows it down to that psych rock soundscape, giving us whirring guitar parts we didn’t even realize we were craving until now.
“The Organizer” dips back into classic rock, a little more of a ballad. We’re pleased with the way it pulls Rossa’s vocals to the forefront, providing this heartbreaking feeling we wouldn’t otherwise get from a different set of pipes. “Slither on the Ceiling” brings with it a funky feeling, the vocals rough and enticing. “Velvet Math” definitely feels more technical, with computerized sounds throughout and an otherworldly vocal presentation. While “Pull the Trigger” has a title that might feel a little more morbid than its predecessors, the crashing cymbals and punk rock feel make it fit right on in with several genres, including garage, punk, and classic rock.
“Ruins” slows everything down as an instrumental track driven by a classic drumbeat, while “Eel” does seem to exist in a watery, psychedelic soundscape. (The intentionality behind the undertones of the songs and their title pairings is almost poetic in itself, don’t get us started here.) “Gamma Dust” is quite possibly the perfect ending to this collection, as from beginning to end you feel an eery connectedness to the scattered percussion, haunting vocals, and layers of sound. Soothing, chaotic, intense.
Keep up with Teleportal here.
by Meredith Schneider | Oct 11, 2019 | albums, review
Indie pop songstress OSTON recently released a new 6 track titled Sitting at the Kids Table, a highly relatable and intrinsically beautiful collection of songs that will leave you craving more. From the first lines of first track “bad” to the very last moments of “last time”, there is an energy to this work that is all her own. With raspy, well-balanced vocals, OSTON has created an entirely distinct sound to the entire album with just the presence of her vocals.
Songs like “give up” and “bad” employ earthy percussion and While “leading me on” is a smooth pop track with a subject matter that is absolutely exhausting, “way we say goodbye” brings us back to a good mood, in both lyrical content and a bass line that never quits. OSTON wraps the release up with “last time”, which is a future hit pop track if ever we’ve heard one. As we praised before, her vocals are more than enough to carry this song, with Mariah Carey-esque range, and the tempo makes this the perfect song to dance with your sweetie to. The bittersweet topic is something to sit with if you’re in a weird, introspective mood, but it’s presented in such a sultry way that you can enjoy this in an array of atmospheres.
Push this song to radio, guys. And as a whole, this release shows OSTON’s promise. We can’t wait to see what’s to come.
Keep up with OSTON here.
by Meredith Schneider | Sep 27, 2019 | albums, review
In true ANIIML fashion, we’ve got a full-length release today that will spike your senses, beginning with the all-caps nature of the song titles. OH AWE is a 10-track stunner of an album that perfectly showcases the self-proclaimed “avante witch-pop” singer/songwriter ANIIML’s unique pipes (Hello, do you hear that powerful voice?!) amidst a rough and tumble mixture of instrumentals. Her twangy disposition only adds depth to the soundscape, a magnetic mess of beauty that we cannot stop playing.
From steady beginning of “IT’S OVER” to the very last chaotic lines of anthemic track “STRONGER NOW”, we are absolutely hypnotized by the beauty of ANIIML’s voice. “SLAY!” brings with it that perfect club track tempo and a bit of trending attitude, while “HANDLE ME” simplifies everything with a mixture of Gwen Stefani-like vocals laced with an increasing presence of seduction. “OUCH!” actually feels like a track Imogen Heap could have pulled off, and we’re all for the pure primal feeling it evokes. “WHERE WE GO (WHEN WE GO)” features the darling X. ARI, intricate percussion being the driving factor on this puppy. “OUT! OF! CONTROL!” actually brings with it a more vintage, theatrical soundscape that has us scrambling for a speakeasy. “BEFORE IT GETS BETTER” features Robots&Balloons, and slows things down a bit for a more introspective moment, and then “FACE TO THE PAVEMENT” slowly but surely revs things up a bit more.
If you’re looking for an interesting soundscape, “IT’S NOT OVER… YET” provides pretty much everything you need. Quirky, trudging percussion, and a little bit of a different approach then 2017’s “IT’S OVER“, she’ll be serving this goodness up on repeat for a while here. “STRONGER NOW” brings a sense of finality to the piece, and the cacophony of sounds toward the end will prove that. Give it a spin, then hit us with your thoughts on Facebook.
Keep up with ANIIML here.
by Meredith Schneider | Sep 23, 2019 | albums, review
On Friday, Kills Birds released a self-titled full length that is sure to keep you on your toes. From the very first frantic chords of “Worthy Girl” to the last lines of ninth track “Ok Hurricane”, there is equal parts surf pop and punk influence in this alternative collective’s new release, and we’re thrilled with the cadence of it all. Second track “Jesus Did” is something we would actually find ourselves moshing to in a dingy club, if you’re truly wondering, and “Ow” follows suit with a subtle, beautiful darkness and slower pace. “Volcano” builds like a vintage rock track, intricate percussion leading the way, while “New Friend” slows everything down and builds the instrumentals to a trudging, intense soundscape despite the more leisurely pace.
While “Only Yellow” feels melancholic in title, it’s a garage rock gem that is equal parts chaos and intricate observation. “Tear Up” finds itself in more of a Weezer realm lyrically and vocally, while “High” prefaces the last track with a hard bass line, the most Nirvana-esque of the tracks on this record.
Quite frankly, we have been waiting for a soundscape like this. Something to match the way the weather is going in North America, something to take us into autumn with appreciation and a sense of reality. So check it out below, then tell us what you think on Facebook!
Keep up with Kills Birds here.
by Meredith Schneider | Sep 20, 2019 | albums, review
The Berries‘ sophomore release — a full-length titled Berryland — is something of a commodity right now, as its focus on guitar riffs and an all-encompassing vibe has us begging for more. Mastermind Matt Berry has created a ten track masterpiece, that effortlessly blends Americana and Brit rock in an interesting and dynamic way. It starts with whirring guitar and an energy all its own with “Makes Me Sick“, adding more twang with “Lowest Form of Life”, and coming in hot with the leisurely, more radio friendly “Fruit“, two of these selections which have amazing 70s-inspired music videos to accompany them.
Continuing at a leisurely, backyard bonfire pace, “Passing Scene” gives us a hard glimpse into our autumnal future, slow motion jumping in leaves comes to mind. “Feral Eyes” revs it up a bit more, while “D.Y.W.I.B.” brings a more ethereal feeling to the piece. “Hell on the Speedway” has a title that would indicate it picks up the pace a little bit, yet it maintains a drawn out and beautiful disposition. “Along the Water” is delicate and incredible, while “Pedestal” provides a little more attitude. They round out the album with “Heavy Rain”, a track that will take you back in time right alongside some of rock’s greats (i.e. Jimi Hendrix). We’re big fans, and will most likely keep that track on repeat for quite some time.
Keep up with The Berries here.
